When and where did you first attend CDR? What do you recall?
I think it was one back in 2009, I was petrified as they’d just played this song I’d recorded just that day. I just remember freezing by the bar and everything in my view disappearing. Like with most things in London it was a sausage fest of producery beat-heads. Nothing against beat-heads or sausages, or festivals of both but y’know, I’m a songwriter with a girly voice and I like girls too. Anyway, it was a good experience, I got loads of really nice feedback.

How did you hear about CDR?
I heard about it through Tony-Tone Nwachukwu who I was working with at the Roundhouse.

What has CDR meant to you?
A nerve wracking roller coaster ride of, what if people talk over my pretty girl voice? They never have.

Have you collaborated with, or hope to, any artists via CDR sessions?
No. Not yet.

Any other noteworthy CDR memories?
Sometimes it’s fun to attend and support other lovely music makers. I remember sitting on the floor with the Soundsmith [Amede] and [Marsha] Marshmello just soaking in the music – it was quite inspiring.

Any tips or tricks for managing to keep making music?
Don’t stop. I think that is the key thing. And don’t be afraid to experiment, and don’t listen to too many people, just find your voice and keep building up the courage to use it.

Have you a favourite piece of equipment?
No, I really do not. I try never to do the same thing twice.

Any projects or tracks your working on at the moment that you’d like to let us know about?
Yes, these drunken, messy pop songs I call Rabid Ballads, I go under the name HowAboutBeth (no spaces, but please capitalise each word because that is how it is written). Find me on facebook.com/HowAboutBeth.

Finally, have you any advice or words of warning for producers/musicians developing musical works in progress to play at CDR?
Get rid of those fears, do it, soon and then keep doing it. Make a mess.